Avant Première française de 9 Doigts

Pau – Cinéma Melies – 18 décembre 2017 site

Bordeaux – Cinéma Utopia – 19 décembre 2017 site

En présence de Paul Hamy, Damien Bonnard, Alexis Manenti, Elvire, FJ Ossang

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9 Doigts sur Uzak : Anarchy in nowhereland

Source : Uzak

9 Doigts

Mariangela Sansone

«À quoi bon un cinéaste en temps de manque? À faire parler la Terre! Entrer dans le secret d’un Soleil, d’une brume et du magnétisme tellurique – via les indigènes du secteur…»
(F. J. Ossang, Mercure insolent)

La sovversione dell’anima è declinata nelle più variegate sfumature, dal bianco conducono al nero, e dalle tenebre scivolano nuovamente verso chiarori luminosi, la rifrazione della luce accende i grigi, illuminandoli di scintille che accendono la notte; barlumi lattescenti scivolano liquidi tra le pieghe più nascoste della mente umana.

Rileggendo le trame del noir, F. J. Ossang libera la materia filmica plasmandola in un ibrido di contaminazioni fra generi e forme con un’esplosione anarchica, creando un corpo unico, un organismo libero fagocitante esperienze e derive narrative.
La storia narra di un cargo in viaggio alla volta di una “virtual zone”, l’isola di Nowhereland, una nave fantasma in rotta verso l’isola che non c’è, un non luogo dove sono diretti Magloire (Paul Hamy) e strambi personaggi, a bordo una cassa di polonio, materiale esplosivo pronto a detonare. «La nave volava, si schiantava contro le mantelline, stellava i muri. Qua e là, negli intervalli di notte, fra i lampioni, si vedeva il dettaglio di un volto rosso dalla bocca spalancata, di una mano che indica il bersaglio.» (J. Cocteau 2015, pag. 17)

Un percorso, seguendo il flusso della follia, in un luogo fantastico, come il cinema di Ossang, così insurrezionale e terrorista, come un congegno pronto a tuonare in qualsiasi momento. Antonin Artaud sovente dipingeva come «velenosa» ed «eccitante» la settima arte, la rivelazione di un «imponderabile», di una «liberazione delle forze oscure del pensiero»: l’immagine, nell’accezione artaudiana, è un insieme di forze esoteriche e misteriose che sono pura emanazione «della vibrazione stessa e della stessa origine incosciente, profonda, del pensiero» (A. Artaud 2001, pag. 147).

Ossang dà vita a una struttura anarchica, dotata di uno sconquassante potere tellurico, con un bianco e nero espressionista e dalle nebulose atmosfere oniriche. 9 Doigts, presentato in concorso a Locarno70, dove ha vinto il Pardo per la migliore regia, è un’opera squisitamente punk, una composizione visionaria, vicina per fragore alla musicalità dei New York Dolls o dei britannici Sex Pistols; un’astrazione che dal classicismo del noir anni Quaranta scivola in una rapsodia metafisica dai toni allucinati.

Il regista francese infrange gli schematismi narrativi e si affida a coordinate surreali, la materia visiva sembra essere costituita da enigmi simbolici à la Bosch, tra relitti, acque malmostose e la follia umana che conduce in un labirinto oscuro, un corridoio senza possibilità di evasione dove la mente si smarrisce nella circolarità del tempo per non ritrovarsi mai più. Nelle notti eterne, tra la nebbia, Ossang tratteggia le ombre fosche di uomini persi, coscienze smarrite e menti che vacillano in preda alla malattia, il contagio si diffonde a bordo del cargo e nessuno è immune, tutti sono rapiti dal male, un delirio che confonde il reale e l’immaginifico.

La linea dell’orizzonte che divide il mare dal cielo è sempre più vaga, tutto è confuso nella tenebra, tra paesaggi emersi dalle tele popolate di spettri di Léon Spilliaert e gli scenari cupi di Constant Permeke. Intossicazioni visive e linguistiche conducono i dialoghi a impregnarsi di un organismo poetico la cui carne e (de)composizione meravigliosa è mutuata ora da Lautréamont ora da Burroughs, anche se i riferimenti letterari, inevitabilmente, non possono che spingersi oltre, affondando le radici in Verne, o in Conrad, ma anche nelle parole imbevute di assenzio e oppio di un rimbaudiano Le bateau ivre. Un’Odissea tra i flutti della pazzia di un manipolo di uomini in balia di un delirio, alla ricerca di un oggetto oscuro, metafora della bramosia di possesso, del viaggio verso il piacere delle delizie malevole promesse dall’ignoto.
Da una stazione inizia la corsa sfrenata di un uomo in una notte senza stelle, una fuga che si conclude in un porto dalle acque torve in superficie e agitate nelle profondità da mille correnti contrarie e da maelstrom vertiginosi, come Poe descriveva «un mare d’inchiostro […] dalla vorticosa rabbia del fiotto, che saliva sino sopra la bianca e lugubre sua cresta, urlando e muggendo eternamente» (E. A. Poe 1869, pag. 237).

Dalla corposità materica di un bianco e nero stratificato e cupo, che negli scenari di apertura è vicino a L’uomo di Londra, di Béla Tarr, luoghi di partenze ma non di arrivi, dove, come in 9 Doigts è possibile acquistare un “biglietto per l’inferno”, si passa a una messa in scena chimerica  acutizzante la visionarietà dell’opera e le derive mentali di Magloire e del resto della ciurma, avvolti da tempeste marine turneriane e da deliranti proiezioni allucinate, in bilico tra realtà e sogno/incubo.

L’immagine è baconiana, si apre allo sguardo come un urlo lacerante, una deformazione espressiva dei muscoli facciali, in una tensione che è mutamento delle forme, proprio come il cinema di F.J. Ossang, sovversivo e anarchico, un unicum nel panorama attuale cinematografico, che affonda le sue unghie nei primi Lang, ma anche in Ejzenštejn, e poi nel surrealismo di Cocteau, fino a Godard, creando un corpo filmico vibrante, muscolare ed eversivo. Regista, poeta, scrittore e musicista, il francese crea immagini di una potenza incandescente, come Bacon per Deleuze (Logica della Sensazione): «dipinge il grido, in quanto mette la visibilità del grido, la bocca aperta come voragine d’ombra, in rapporto con forze invisibili, che non sono poi altro che le forze dell’avvenire».

Lo sguardo è aperto e deflagrato, si muove su geometrie proprie, una morsa selvaggia che, come il cinema muto di inizio secolo, ha una sua linguistica che può debordare avvalendosi di un immaginifico blasfemo. In 9 Doigts i dialoghi stratificano parole tracimanti e si è sempre sull’orlo del baratro di una catastrofe imminente, in una visionarietà perturbante.
La furia della tempesta scuote l’occhio in un avvilupparsi di vertigini rock, la musica stessa, parte fondamentale nelle opere di Ossang, fa riferimento a presenze fantasmiche presenti sullo schermo, Loi de fantômes, richiamo a un ritorno del passato che contamina il presente ed è la matrice di una mappatura del futuro, del cinema ossanghiano, la dedica sui titoli di coda, meravigliosa dichiarazione d’amore verso un cinema sempre presente e follemente amato: «All my fucking friends are fucking dead!».

Bibliografia

A. Artaud (2001): Del Meraviglioso, Minimum Fax, Roma

J. Cocteau (2015): I ragazzi terribili, BUR, Milano

E. A. Poe (1869): Storie incredibili, Tipografia Pirola, Milano


Titolo: 9 Doigts
Anno: 2017
Durata: 99’
Origine: Francia
Colore: B/N
Genere: Drammatico
Produzione: OSS/100 Films & Documents, 10:15! Productions, O Som e a Fúria

Regia: François-Jacques Ossang

Attori: Damien Bonnard (Kurtz), Diogo Dória (Le Capitaine), Elvire (Gerda), Pascal Greggory (Ferrante), Paul Hamy (Magloire), Lisa Hartmann (Drella), Susana Afonso Lopes (Double de Drella), Alexis Manenti (Springer), Lionel Tua (Warner Oland), Gaspard Ulliel (Le Docteur)
Soggetto: François-Jacques Ossang
Sceneggiatura: François-Jacques Ossang
Fotografia: Simon Roca
Costumi: Karin Charpentier
Suono: Julien Cloquet

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9 Doigts a Belgrade

Festival du film d’auteur de Belgrade (Serbie)

du 24 novembre au 02 décembre 2017

En presence de Damine Bonnard et Alexis Manenti

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Ossang interview Metal Magazine

Source ici
A filmmaker, writer, poet and musician; but above all, a nonconformist punk. F. J. Ossang is at the forefront of alternative cinema, which he’s been doing for the last thirty five years. Considered a cult director, his black and white films – imbued with influences from expressionism and noir film – are loved by some because of their stark aesthetic, experimental approach and rebellious messages. On the other hand, though, some dare say his style is pedantic or pretentious. Whatever the case, Ossang is undoubtedly one of the strongest and most respected voices orbiting around non-commercial cinema. We talk with him about 9 Doigts, the film he’s presenting this year at several festivals worldwide, the struggle of being an underground creator and what’s next in his career.
During your stay at Curtocircuíto festival, you’ve stated that punk – a genre of which you’re a banner and icon – is not dead. Nevertheless, it’s clear that its golden era, at least as how we understand it, has been gone for some decades. What makes you think it’s still alive? And how is it now? What makes an artwork, a person or an event punk in 2017?
That surprises me a bit, I don’t think I’ve talked using these terms. On the contrary, I pointed out that punk movement was forty years old this year! I usually get irritated by the way in which some films or theatre plays are described as punk on the pretext that they’re rude, filthy, or rough. The problem: punk is a vague concept. By the way, it is possible to integrate under this term groups as different as The Ramones, or Throbbing Gristle – not to mention punk sixties like the fabulous The Seeds or The 13th Floor Elevators.
On my side, I remember explaining the film project Docteur Chance to Joe Strummer as a “punk film from the Classical Age”! We must take into account that the 20th century is ‘the’ century of punk – and that its first inventors are Arthur Caravan and Jacques Vaché, who disappeared in 1919. From a certain point of view, it can also be argued that the 20th century began in 1905 with the First Italian Futurist Manifesto and the first Russian Revolution, and ended in 1972 with Metallic KO (live album by Iggy & The Stooges).
It’s been seven years since Dharma Guns was born, the previous film to 9 Doigts, the one you’re presenting this year; and there was also a ten-year lapse between Docteur Chance (1997) and Silencio (2007). What are the reasons behind this parenthesis in your cinematographic production? What have you done in each of them?
In cinema, just as elsewhere, I’ve advanced in hostile zone. Each of my films since L’Affaire des Divisions Morturi (1984) has earned me a desert crossing. However, I’ve often written a new script just after the release of a film. Le Tresor des Iles Chiennes was written at the end of 1986, but wasn’t totally produced until 1990, and went out in 1991. After the release of Docteur Chance in 1998, all the doors in France were closed – I only resurfaced with a silent short film shot in 16mm in 2006 made with ten thousand euros, on the initiative of Festival Temps d’Images Portugal, which was awarded with Jean Vigo Award before going to Cannes’ La Quinzaine des Réalisateurs in 2007. Suddenly, I obtained a waiver to re-apply to CNC with Dharma Guns, which I shot in 2009 – but was released in 2011!
Then it went relatively fast, I wrote the book Mercure Insolent in 2012, and the script of 9 Doigts in 2013, but it’s taken me more than three years to find minimum funds, always without the support of any French TV. 9 Doigts was shot in 2016 and selected in Locarno in 2017. And voilà: 1982-2017, five feature films, five short films; the time of a lifetime.

Your comeback to the silver screen has been more than successful: you’ve been awarded as Best Director at Locarno Festival, and Curtocircuíto has held a retrospective of your work. Does it make you think you should spend more time doing cinema?
I’ve spent half of my life trying to make films. Moreover, these are modest budgets, unlike other filmmakers who have been stopped by huge financing. Basically, the budget of my last three feature films has been the same from 1997 to 2017: one million euros. I made them despite seeming impossible. Let’s make a dream: may my next film find fewer obstacles?
On the occasion of this retrospective, I’d like to highlight something that stuck in my mind from your first short film, La Derniere Enigme (1980). In it, there’s a quote by Gianfranco Sanguinetti that talks about how it is that the State is who pulls strings to create terrorism. This is one of the many examples that proves why your artworks are timeless, relevant and contemporary despite the passage of time: they always contain ‘universal truths’. And I think this quote couldn’t be more appropriate in the times we live in…
Exactly. On Terrorism and the State (1979) by Gianfranco Sanguinetti is a great book!
Speaking about short films, you vindicate that they’re a “very interesting format because they are very free, there’s no commercial pressure”. Do you enjoy doing them more than feature films? And if there’s so much freedom in short films, what made you decide to do your first full-length film, and what or who convinced you to go on and do more?
It’s like writing poems or writing a novel. Both can be passionate. Short films can anticipate new forms in total freedom. It’s experimental, in every sense of the word.

Your punk spirit has infused your films with rebellious and denouncing messages. Have you ever thought of approaching filmmaking in a less experimental, more commercial way in order to spread these messages to a larger audience?
Arletty said: “Je suis comme je suis” (‘I am how I am”, in English). I do my best.
9 Doigts has a strong influence from the expressionist movement, not only visually, but also in the lack of (lasting) dialogues. I once heard or read that the incorporation of sound to film struck the visual possibilities of the medium. Do you agree with that? Do you think that visual boundaries could have been explored much further if voice and sound wouldn’t have come in?
The period of silent movies is of an extreme richness – in twenty years, cinema invented almost all its possibilities. Dr. Mabuse der Spieler by Fritz Lang is from 1922. Then, everything is said by Gloria Swanson in Billy Wilder’s Sunset Boulevard: “Ah, those horrible dialogues, there’s no more art!” But in the ‘70s, sound technology allowed us to create silent, noisy, musical and talked movies, all at once. When the idea of doing films struck me, the ‘third age of cinema’ started: it was in 1978 with David Lynch’s Eraserhead or Apocalypse Now by Francis Ford Coppola. But on the other hand, I also love La Maman et la Putain (1973) by Jean Eustache.
Despite your success, as I read some critics about your films, I can find several who qualify your artworks as pretentious and pedantic. Where is the limit between experimentation, a great level of conceptualism, and pretension? Do you think it’s possible that they’re right, even if a little bit? Or do they say so because they can’t understand what you do?
Either they don’t understand anything about my films, or the freedom that I try to exercise – which is high-priced –; it irritates them to the highest degree. Napoleon said regarding ‘Liberté, Egalité, Fraternité’, that everyone wanted fraternity and especially equality, but that nobody was interested in liberty (laughs).

In addition to filmmaker, you’re also a musician and a poet. How do you combine all these interests? How do they influence your life?
I started by writing, then music – and after that, cinema. And the three remained indissolubly linked: not being able to enter by the door, I entered by the window.
Is there any connecting thread between your songs, poems and films? Or do you use different mediums to express different emotions/messages?
That’s for you to say…
After 9 Doigts, what are your future plans? Will you enjoy another break from filmmaking, or will you still create for the silver screen?
My project: live! And after that, die.

 

 

 

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9 Doigts en Argentine

32 eme festival du film de Mar del Plata

Projections 20 et 21 novembre 2017 Ambassador Sala 2

Lien

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Ossang dans Movement 92

Pour commander le magazine, c’est par la

 

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Chronique de 9 Doigts en espagnol

Source : Ostros Cines Europa

9 DOIGTS (9 FINGERS). F.J. Ossang. 99 minutos. Francia, Portugal (2017). Con Damien Bonnard, Diogo Dória, Elvire.

Desde que en 1982 el polifacético F.J. Ossang se inició en el séptimo arte con su cortometraje La dernière énigme, el director de Docteur Chance no ha dejado de jugar con las convenciones de los géneros cinematográficos. Película tras película, este cantante, escritor y cineasta de culto se ha dedicado a subvertir los clichés del cine negro, fusionándolos con los lugares comunes de las películas de aventuras, de la ciencia ficción e, incluso, de los musicales. Así, 9 Doigts arranca bajo la apariencia de un noir clásico en el que Paul Hamy es secuestrado por una banda criminal escondida en una estación de tren. Esta prodigiosa introducción, que en palabras de Ossang homenajea a su gran referente, Jean-Pierre Melville, pronto se transformará en una odisea a bordo de una embarcación gigante, que, a su vez, deviene un viaje por el Cosmos.

La gran conquista de 9 Doigts consiste en un indiscutible equilibrio entre el cine de aventuras y lo contemplativo. Ossang, obsesionado por filmar la palabra, ha dividido todo el film en tomas de acción (peleas, asesinatos y tiroteos) y en otras escenas estrictamente habladas donde dos personajes comentan lo que acabamos de ver. Para algunos espectadores, estas escenas fueron una carga que ralentizó la trama innecesariamente; sin embargo, su existencia es imprescindible para entender el esqueleto de 9 Doigts. Esta historia, como tantas otras ideadas por la mente de este poeta, nace de un duelo de opuestos: del blanco y el negro, de la feminidad y la masculinidad, del Bien y el Mal, y, por último, de la acción y la palabra. Carlota Moseguí

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Retro Ossang dans le magazine italien FilmIdee

A retrouver ici

 

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Questionnaire de Proust – Nicole Brenez avec FJ Ossang

F.J. Ossang répond au questionnaire de Proust revisité

Ma vertu préférée

La crédulité / la ténacité

Le principal trait de mon caractère

La distraction.

La capacité à ne rien entendre.

• Ma principale qualité

Ouverture / Fermeture – comme un iris.

La qualité que je préfère chez les humains

La curiosité.

La qualité que je préfère chez les animaux

Bestiale !

Mon principal défaut

L’entêtement / la naïveté.

Ce que j’apprécie le plus chez mes amis

Les bons vins.

Le moment le plus inoubliable de ma vie

Mes Satoris à Kapchagaï (Kazakhstan), puis au Chili sur la route entre Valparaiso et la Cordillère centrale, et à Primorsky Krai (Far East Russia). Sinon Le Prix Jean Vigo (2007). Le Léopard à Locarno pour mon anniversaire (2017). 

Mon occupation préférée

Ne rien faire.

Mon rêve de bonheur

Ne rien attendre.

Quel serait mon plus grand malheur ?

Ne rien voir.

À part moi-même, qui voudrais-je être ?

Plus personne.

Où aimerais-je vivre ?

Loin, très loin de la numérisation généralisée du Monde !

La couleur que je préfère

Un orangé presque fluorescent, et le bleu.

La fleur que j’aime

La fleur de cactus.

L’oiseau que je préfère

Les corbeaux, les chouettes, les faucons, les aigles, les merles… tous les oiseaux.

Mes auteurs favoris en prose

André Biély, Edgar Allan Poe, Louis Ferdinand Céline.

Mes poètes préférés

François Villon, Antonin Artaud, Georg Trakl.

Mes héros dans la fiction

Hannibal, Zappata, Ungern, Lacenaire.

Mes héroïnes favorites dans la fiction

Pandora.

Mes compositeurs préférés

Gabriel Fauré, Chostakovitch, Wagner.

Mes chanteurs aimés

Iggy et les Stooges, Richard Hell, Joe Strummer, Yma Sumac, W.S. Burroughs.

Mes groupes de musique favoris

The Stooges. Throbbing Gristle. Sex Pistols. Cabaret Voltaire. 

Los Saicos. The Seeds…

Mes peintres préférés

Delacroix, Turner, Caspar David Friedrich, Malévitch.

Mes cinéastes préférés

S.M. Eisenstein, Jean Vigo, Murnau, Orson Welles, Buster Keaton, Josef Von Sternberg, Glauber Rocha, Luis Buñuel, Guy Debord, Jean-Pierre Melville, Robert Bresson, Jean Eustache…

Mes films de chevet

Mr Arkadin, Shanghaï Gesture, Nosferatu, À propos de Nice, Ivan Le Terrible I & II.

Mes acteurs favoris

Stroheim, Le Vigan, Artaud, Conrad Veidt.

Mes actrices préférées

Arletty, Gene Tierney, Florence Delay, Anna Karina, Nico.

Mes héros dans la vie réelle

Jimmy Button. Les Indiens Alakalufs de la Terre-de-Feu à propos de qui Joseph Emperaire a écrit son magnifique Nomades de la mer (Gallimard, épuisé).

Mes héroïnes dans la vie réelle

Jeanne d’Arc, pour services rendus au cinéma.

Ma nourriture et boisson préférées

Tartines beurrées, caviar, saumon sauvage, huîtres, nopal, vodka. J’ai une grande admiration pour l’espadon et pour l’esturgeon.

Ce que je déteste par-dessus tout

L’uniformité. Les idéologues.

Le fait militaire que j’estime le plus

Les défaites immenses qui défient tout récit victorial — 

Un vaincu qui finit d’écrire l’histoire !

La réforme que j’estime le plus

« Qui ne préfère pas la forme aux couleurs est un lâche » (William Blake).

La tendance politique qui m’est la plus proche

L’individualisme révolutionnaire.

Le don de la nature que je voudrais avoir

L’adresse.

Comment j’aimerais mourir

En vol.

L’état présent de mon esprit

Conscient que tout peut et doit disparaître.

Et à la fois, la lumière…

La faute qui m’inspire le plus d’indulgence

Le goût de l’ivresse.

Ma devise

Nevermore !

Propos recueillis par Nicole Brenez,

Saint-Jacques-de-Compostelle,

Dimanche 8 octobre 2017,

À la demande de Pela del Alamo.

Merci à Elvire.

 

version espagnole ici

version anglaise ici, et en bas de page

Hace algunas semanas se realizó el festival Curtocircuito en Santiago de Compostela, España, donde el cineasta francés F.J. Ossang participó con una retrospectiva de su obra. De esa estancia compartimos sus respuestas a este test de Proust.

Mi virtud preferida
La credulidad/ la tenacidad

El principal rasgo de mi carácter
La distracción/La capacidad a no oir nada

Mi principal cualidad
Apertura/ intolerancia

La cualidad que prefiero en los humanos
La curiosidad

La cualidad que prefiero en los animales
El lado brutal

Mi principal defecto
La terquedad

Lo que más aprecio en la casa de mis amigos
El buen vino

El momento más inolvidable de mi vida
Mis Satoris (término vinculado con la iluminación en el budismo) en Kapchagaï (Kazajistán), luego en Chile, la ruta entre Valparaíso y la Cordillera Central, y en Primorsky Krai (en la parte lejana del este de Rusia). También la premiación Jean Vigo (2007). El Leopardo en Locarno por mi cumpleaños (2017).

Mi ocupación preferida
No hacer nada

Mi sueño de felicidad
No oír nada

¿Cual será mi más grande desgracia?
No poder ver

¿A parte de mí, quien desearía ser?
Más personas

¿Dónde me gustaría vivir?
Lejos, muy lejos de la numerización generalizada del mundo.

El color que prefiero
El anaranjado próximo al fluorescente  y el azul

La flor que me gusta
La flor del cactus

El ave que prefiero
Los cuervos, las lechuzas, los halcones, las águilas, los mirlos… todas las aves

Mis autores favoritos
André Biély, Edgar Allan Poe, Louis Ferdinand Céline.

Mis poetas favoritos
François Villon, Antonin Artaud, Georg Trakl.

Mis héroes en la ficción
Hannibal, Zapata, Ungern, Pierre François Lacenaire.

Mis heroínas favoritas en la ficción
Pandora

Mis compositores favoritos
Gabriel Fauré, Shostakóvich, Wagner.

Los cantantes que amo
Iggy y los Stooges, Richard Hell, Joe Strummer, Yma Sumac, W.S. Burroughs.

Mis bandas favoritas
The Stooges. Throbbing Gristle. Sex Pistols. Cabaret Voltaire. Los Saicos. The Seeds…

Mis pintores preferidos
Delacroix, Turner, Caspar David Friedrich, Malévich.

Mis cineastas preferidos
S.M. Eisenstein, Jean Vigo, Murnau, Orson Welles, Buster Keaton, Josef von Sternberg, Glauber Rocha, Luis Buñuel, Guy Debord, Jean-Pierre Melville, Robert Bresson, Jean Eustache…

Mis películas de cabecera
Mr Arkadin, The Shanghai Gesture, Nosferatu, À propos de Nice, Iván el Terrible I y II.

Mis actores preferidos
Stroheim, Le Vigan, Artaud, Conrad Veidt.

Mis actrices preferidas
Arletty, Gene Tierney, Florence Delay, Anna Karina, Nico.

Mis héroes preferidos en la vida real
Jimmy Button. Los indios Alakalufs de la Tierra del Fuego, y que con respecto a ellos Joseph Emperaire ha escrito su magnífico Nómades del Mar (Gallimard, agotado).

Mis heroínas en la vida real
Juana de Arco, por los servicios brindados al cine.

Mis comidas y bebidas preferidas
Tostadas con mantequilla, caviar, salmón salvaje, ostras, nopal, vodka. Tengo una gran admiración por el pez espada y el esturión

Lo que odio por encima de todo
La uniformidad/Los ideólogos.

El hecho militar que más considero
Los fracasos enormes que desafían todo relato de victoria
Un vencido que termina de escribir la historia

La reforma que más considero
“Si no se prefiere la forma o el color se es un cobarde” (William Blake).

La tendencia política que es más próxima a mi persona
El individualismo revolucionario

El don de la naturaleza que quisiera tener
La destreza

Cómo me gustaría morir
En un vuelo

El estado actual de mi espíritu
Conciente que todo puede y debe desaparecer/Y al mismo tiempo, la luz…..

La culpa que más inspira mi indulgencia
El gusto por la embriaguez

Mi lema
Nunca más

Palabras registradas por Nicole Brenez
Santiago de Compostela
Domingo, 8 de octubre de 2017
Por solicitud de Pela de Alamo
Muchas gracias a Elvire

Traducción del francés por Armando Espíndola

Photo: Mina Blumenfield

A few weeks ago, the Curtocircuito Film Festival in Santiago de Compostela took place. In this venue, French filmmaker F.J. Ossang participated with a retrospective of his work. From that stay we share his answers to this Proust questionnaire.

My favorite virtue
Creduility/tenacity.

My character’s main feature
Distraction/the capacity of not hearing anything.

My main quality
Openness/intolerance.

The quality I prefer most in humans
Curiosity.

The quality I prefer most in animals
Their brutal side.

My main defect
Stubbornness.

What I appreciate more in my friends’ house
Good wine.

Most unforgettable time in my life
Mis Satoris in Kapchagaï (Kazajistan), then in Chile, the route between Valparaiso and the Central Mountain Range, and in Primorsky Krai. Also the Jean Vigo award (2007) and the Locarno Leopard for my birthday (2017).

My main occupation
Not doing anything.

My happiness dream
Not hearing anything.

What would be my greatest disgrace?
Not being able to see.

Besides me, who would I want to be?
Other people.

Where would I like to live?
Away, far away from the generalized digitization of the world.

My favorite color
The orange which is next to fluorescent and blue.

A flower I like
The cacti flower.

A bird I prefer
Crows, owls, hawks, eagles, blackbirds… all the birds.

My favorite authors
André Biély, Edgar Allan Poe, Louis Ferdinand Céline.

My favorite poets
François Villon, Antonin Artaud, Georg Trakl.

My fiction heroes
Hannibal, Zapata, Ungern, Pierre François Lacenaire.

My fiction female héroes
Pandora

My favorite composers
Gabriel Fauré, Shostakóvich, Wagner.

The singers I love
Iggy & the Stooges, Richard Hell, Joe Strummer, Yma Sumac, W.S. Burroughs.

My favorite painters
Delacroix, Turner, Caspar David Friedrich, Malévich.

Mis favorite filmmakers
S.M. Eisenstein, Jean Vigo, Murnau, Orson Welles, Buster Keaton, Josef von Sternberg,

Mis bedside films
Mr Arkadin, The Shanghai Gesture, Nosferatu, À propos de Nice, Iván the Terrible I & II.

My real life heroes
Jimmy Button. The Alakalufs natives from Tierra del Fuego. Joseph Emperaire has written about them his magnificent “Nómades del Mar” (Nomads of the sea, Gallimard, sold out).

Mis real life heroines
Joan d’Arc, for her services to cinema.

My favorite foods and drinks
Toasts with butter, caviar, wild salmon, oysters, nopal, vodka. I have a great admiration for the sword fish and the sturgeon.

What I hate above all
Uniformity/ The ideologists.

The military facts I consider more often
The huge failures that defy every tale of victory.
A defeated man that ends up writing history.

The quote I consider the most
“Qui ne préfère pas la forme aux couleurs est un lâche” (William Blake).

The political tendency nearest to me
Revolutionary individualism.

A gift of nature I wish I had
Dexterity.

How would I like to die
Flying.

The actual state of my spirit
Aware that everything can and must disappear /And at the same time, the light…

The guilt that most inspires my indulgence
My liking of drunkenness.

My motto
Nevermore.

Words registered by Nicole Brenez
Santiago de Compostela
Sunday, October 8th, 2017
Requested by Pela de Alamo
Thanks a lot to Elvire

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9 Doigts a Séville

9 DOIGTS film de F.J. OSSANG (99′, NB, 2017)
au 14° FESTIVAL DU CINEMA EUROPEEN DE SEVILLE (Espagne)
du 4 au 11 NOVEMBRE 2017 / Section : LAS NUEVAS OLAS

 

plus d’infos ici

 

Publié dans filmographie | Marqué avec | Laisser un commentaire